In partnership with the journal Sensibilités. Histoire, critique & sciences sociales, artists and curators Caroline Bravo and Sandrine Follère program an evening of Rencontres & Performances to the eponymous title of the 11the issue of the journal: Insensibilités.
A reminder of the extent to which gesture and creation cannot be exempt from a process of reflection, criticism and analysis of the society that surrounds us.
At a time when current events are becoming ever more tense, the themes addressed by the artists and authors brought together under the title Insensibilités represent a particularly welcome form of interrogation.
Historian Anouche Kunth, CNRS research fellow and member of the magazine’s editorial board, will present the new issue of the magazine and her book Au bord de l’effacement (Éditions La Découverte).
With performances by Nour Awada, Caroline Bravo, Sandrine Follère, Julie Genelin :
- Nour Awada: Moi Je, ou l’espèce fabulatrice
- Caroline Bravo : La porte
- Sandrine Follère: Novem
- Julie Genelin: The missing image
- Collective performance: Expiring
Anesthesia, indifference, indolence, disinterest, impassivity, imperviousness, inhumanity, burial, erasure, disappearance, off-field.
In collaboration with éditions Anamosa and Station expérimentale d’Art contemporain, carried by the association OOps! a.c.c., working to support contemporary art & culture.
STATION EXPÉRIMENTALE D’ART CONTEMPORAIN
Incubator of artistic projects (exhibitions – meetings & signatures – performances – workshops) driven by artists and curators Caroline Bravo & Sandrine Follère.
more info: https://stationexperimentale.com/
LABORATOIRE DES ARTS DE LA PERFORMANCE
The LAP, which to date brings together over 90 international artists, is a collective research space dedicated exclusively to performance art. Founded in 2018 and directed by Nour Awada, LAP organizes residency sessions in partner art centers.
more info: www.lap-performance.com
Insensibilités / Revue Sensibilités ; Histoire, critique & sciences sociales, n°11, Éditions Anamosa
In this issue, the magazine addresses the absence of sensation, atony, apathy, indifference, flat affects or the search for cold rationality. And this world of lack turns out, surprisingly, to be a world in full swing. The rise of indifference in societies that seemed to have developed a singular ability to be moved from a distance is obviously not obscured (…) the moved amazement of the early days was succeeded almost every time by a growing disinterest in the face of the trivialization of these images of human suffering.
.More info: www.anamosa.fr/livre/insensibilites
Au bord de l’effacement – Sur les pas d’exilés arméniens dans l’entre-deux guerres / Anouche Kunth, Éditions La Découverte
Last, first name, date and place of birth: too few words, on these administrative certificates, to write the story of each person pinned to their civil status, embedded in the groove of their fingerprints. A closer look, however, reveals that these identity documents bear the marks of multiple forks in the road, radical breaks in the trajectories of Armenians from the Ottoman Empire who took refuge in France in the aftermath of the First World War. Peace, in fact, did not allow the survivors of the genocide (1915-1916) to return to live in Turkey. The work of Anouche Kunth, of rare delicacy, conjures up the violence of erasure.
Prix Augustin-Thierry 2023 des Rendez-vous de l’Histoire de Blois & Sélection Essais prix Médicis 2023.
Anouche Kunth is a historian, research fellow at CNRS (Institut de recherche interdisciplinaire sur les enjeux sociaux, EHESS). She co-edits the journal Sensibilités. Histoire, critique et sciences sociales and has published Exils arméniens. Du Caucase à Paris (1920-1945), (Belin, 2016).more info: www.editionsladecouverte.fr/au_bord_de_l_effacement-9782348057908
Caroline Bravo
Caroline Bravo
Caroline Bravo is a transdisciplinary artist (performance, installation, writing, comedy, dance, photography) and curator. She lives and works in Paris. Through her work, she questions current social issues, the feminine and its multiple representations, the notion of otherness, and the collective unconscious. Her recurring themes include a complex dialogue between the sacred and the profane, and a certain introspective quest. His protean creations have a strong dreamlike imprint, with the dualism of life drives and death drives running through them. With a Master’s degree in Ethnology, Anthropology and Religious Sciences (“popular mythologies” and “ethnopsychiatry”) combined with a solid artistic training, her work reveals an approach that juxtaposes cross-disciplinary artistic practice and the social sciences.
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A former collaborator of Jack Lang, she has worked for many years in the arts, culture and media sectors. She has been a member-researcher of the Laboratoire des Arts de la Performance (L.A.P.) since its creation in 2018 by artist Nour Awada, which to date
includes over 90 international artists.
The artist has recently been in residence with LAP at the Centre d’art Mains d’œuvres, CAC La Traverse, Galerie Michel Journiac. She has recently performed – in addition to the aforementioned venues – at Le Générateur, 59 Rivoli, Palais de Tokyo…
Website: https://www.carolinebravo.com/
Nour Awada
Nour Awada
Born in 1985 in Beirut, Nour Awada lives and works between Rome (IT) and Paris (FR). A 2012 graduate of the Ecole Nationale Supérieure des Beaux-Arts de Paris, she founded LAP – Laboratoire des Arts de la Performance – in 2018, and in 2020 co-founded with Emilie McDermott the research project [Re]production, a study of the impact of motherhood on the professional careers of women artists in France.
Winner of the Aide à la Création 2021 Drac Ile-de-France, the Prix International Françoise pour l’Œuvre Contemporaine 2018, the Prix Icart 2015 and the Prix François Schneider 2012, her work has been presented to the public in France and abroad, notably at the Fondation François Schneider, the Fondation Francès, Mains d’Œuvres, the Palais de Tokyo, the Fondation Lafayette Anticipations, the Institut Français de Milan and La Triennale Internationale d’Istanbul.
Website: https://www.nourawada.com/
Julie Genelin
Julie Genelin
Julie Genelin lives and works in Argenteuil. She questions our society’s relationship with time through her installations, performances and object editions. This quest has been reflected in her work since graduating from the Beaux-Arts de Paris in 2006. Beyond her individual path of creative residencies and exhibitions, she federates around herself a dynamic that has led her to create, in partnership with other artists, two associations: Celeste, founded in 2005 in Beijing, which organizes exhibitions and residencies until 2012, and Cercle Chromatique, which has brought together alumni of the Beaux-Arts de Paris since 2017.
With a DEA in Germanic studies, Julie Genelin is also driven by the question of language. For her, this reflection takes on a plastic form. Her artistic practice, and more specifically the two directions – time and language – that structure it, is also expressed through her desire to pass on, which she has been living out by teaching at Via Ferrata, Beaux-Arts de Paris, since 2016. She joined LAP in 2018.
Sandrine Follère
Sandrine Follère
Artist sculptor, visual artist and draughtswoman Sandrine Follère’s work focuses on the notion of the subject inscribing itself in the primary place that is the inhabited space of her body, questioning its form, origin, intimate geographies, memories and limits. The figurative line of the body/memory represents a point of departure; it gives a direction, an outline and inscribes the form in a reflexive continuity. Organic lines/threads/meridians connect the body’s constituent elements, opening up geometric spaces and creating a new geography, redefining the body as a symbolic representation inscribed in a visual space defined by the limits of the line that rectifies its organization, its meaning.
She is currently reflecting on the meaning of women’s lineage, matrix memory, transmission, inscribed in a personal, family and intergenerational culture. Sandrine Follère comes from a transmission that is part of the school of independent figurative sculpture born with Rodin, Bourdelle and Maillol, and whose lineage is rich with several generations of sculptors.
She has lived and worked in Toulouse since 2005. She teaches visual arts at her studio and at ISAE as part of Supaero’s Arts and Cultures training.
Website: https://sandrinefollere.com/